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The essay title I have chosen to discuss for this final essay is ‘The Suddenness of Love’. I intend to discuss this title with reference to material covered over the course of the Shakespearean Comedies module. The suddenness of love is a theme used by William Shakespeare in several of the comedies he wrote such as Twelfth Night, A Midsummer Night’s Dream and As You Like It. For this essay I will discuss the suddenness of love in relation to the two plays Twelfth Night and As You Like It, which have clear examples of love at first sight between various characters. The sudden love between characters in the play at times can be seen to be very illogical and senseless and makes it hard for the viewers to view the relationship in a serious light. The suddenness of love in the plays demonstrate the deep yearning for love that some of the characters endure, lack of power and also absurdity. The sudden love expressed in the plays As You Like It and Twelfth Night reinforce the plays as comedies. An instant development of love between two characters who are significantly different to one another makes it so unbelievable for the onlookers that it is perceived as comical. In a number of instances the love that exists between Shakespeare’s characters seem to lack an explanation of how they could actually love one another. One might suggest that Shakespeare is trying to highlight the irrationality that is associated with romantic love in general through his plays such as As You Like It which is packed with characters who are foolish and senseless but somehow manage to discover love almost immediately. Twelfth Night too offers the audience a selection of characters who are instantly love stricken which I will proceed to discuss.
Love is for the most part something unexpected and overpowering, it is incredibly hard to dispose of. Individuals appear to experience the ill effects of love, that however is their own opinion. In spite of Twelfth Night’s comic plot, Shakespeare paints the uncertain picture of sentiment and captivation in the play. It is an account of the franticness of love, it can also be seen as a fundamental jollification of love. Most characters in the play are associated with affection in shifting degrees. All through the play, numerous types of love are depicted. ‘O, when mine eyes did see Olivia first, Methought she purged the air of pestilence! …’ (Act 1 Scn 1 L17-22), are the words uttered by Duke Orsino the moment he sets his eyes on the pretty Lady Olivia. Immediately Orsino falls for her and cannot hide the immense passion he feels towards her. Orsino does appear to have an obsession with love, and in particular the idea of being in love: , ‘If music be the food of love, play on’ (Act1 Scn1 L1). When he eventually fins love in the form of Olivia, the same feelings are not felt on her part. Olivia too experiences the suddenness of love but unfortunately for Orsino it is not towards him. Instead she is love stricken by Cesario. However, this love is not true as Cesario is in fact Viola in disguise unbeknownst to Olivia and Orsino. Therefore, the physical attraction Olivia experiences towards Cesario when he delivers the love messages are sadly for her false as the true identity of Cesario is hidden from her
Love is additionally exclusionary: a few people accomplish sentimental joy, while others don’t. Toward the finish of the play, as the glad sweethearts celebrate, both Malvolio and Antonio are kept from having the objects of their craving. Malvolio, who has sought after Olivia, should at last face the acknowledgment that he is a trick, socially contemptible of his respectable fancy woman. Antonio is in an increasingly troublesome circumstance, as social standards don’t take into consideration the satisfaction of his obviously sexual appreciation for Sebastian. Love, along these lines, can’t overcome all snags, and those whose wants go unfulfilled remain no less love however feel the sting of its nonappearance even more harshly
Shakespeare demonstrates that adoration can cause torment. A large number of the characters appear to see love as a sort of revile, an inclination that assaults its exploited people all of a sudden and problematically. Different characters guarantee to experience the ill effects of being enamored, or, rather, from the aches of pathetic love. At a certain point, Orsino portrays love drearily as a ‘hunger’ that he needs to fulfill and can’t (I.i.1– 3); at another point, he calls his wants ‘fell and pitiless dogs’ (I.i.21). Olivia all the more obtusely portrays love as a ‘plague’ from which she endures horribly (I.v.265). These representations contain a component of brutality, further painting the adoration struck as casualties of some arbitrary power known to mankind
Orlando endures a similar kind of wild love infection in As You Like It. Act 3 Scene 2, Rosalind depicts a man to Orlando who has been cutting the name ‘Rosalind’ into trees. He concedes that he is various things he is unfortunately enamored. Rosalind claims that he isn’t enamored, in any case, saying: ‘Love is just a franticness and I let you know, merits also a dim house, and a whip, as crazy people do.’ It is now that she recommends to Orlando that she can fix his affection disorder: ‘I would fix you on the off chance that you would yet call me Rosalind’. In this manner, love isn’t only a condition however something that should be treated in situations where it isn’t under the control of somebody as legitimate as Rosalind. She appears to get a handle on the possibility that untamed love can expend us and at last control us. Unexplainable adoration or just love that grows in all respects rapidly will undoubtedly be unsafe. Rosalind comprehends that one should control their affection. Her legitimate mentality towards sentimentalism can be confounded as being cold yet are in any case obvious: ‘ Men have passed on every now and then, and worms have eaten them, yet not for adoration.’ Rosalinds unexpected love for Orlando diverges from Shakespeare’s other love struck characters in that it is sensible and controlled.
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